The two most important notes of a chord are the 3rd and the 7th. In a dominant chord, they form a tritone. Now, let's use a C7 chord - the 3rd and 7th are the E and Bb, right? Let's look at an F#7 (or Gb7), which is a tritone away. What are the 3rd and 7th? A# (or Bb) and E. In both chords, the 3rd and 7th want to resolve to the same notes, so the chords can substitue for one another.

The two most important notes of a chord are the 3rd and the 7th. In a dominant chord, they form a tritone. Now, let's use a C7 chord - the 3rd and 7th are the E and Bb, right? Let's look at an F#7 (or Gb7), which is a tritone away. What are the 3rd and 7th? A# (or Bb) and E. In both chords, the 3rd and 7th want to resolve to the same notes, so the chords can substitue for one another.

Clear, or muddy?

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Ummm, *looks into coffee*, clear as mud to me. Would you care to elaborate? I'd really like to understand what you're trying to say here.

Funny - I work with three of the most brilliant pianists I've ever met, and they love it.

Lynn Seaton said that if something's boring - it's probably you.

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Well, yes, maybe it's just me. A better word would be "unimaginative" rather than "boring." It's just chromatic movement -- down a half-step every two bars. I mean, maybe you could use that as a sort of starting point.

If you do that without thought, it's just as unimaginative and boring as if you do the chromatic movement. I'm a little curious as how you arived at that progression for a Rhythm Changes bridge - functionally, it's all wrong. Want to 'show your math' on that one?